British Sea Power - Valhalla Dancehall, a review

Leaks seem to be in negligible supply lately so I thought I'd get around to reviewing some of the albums of 2011 I haven't yet had a chance to. 'Valhalla Dancehall', the fourth studio album from British Sea Power, was released in early January but I've been enjoying it too much to go through the year ignoring it.

Their brand of raw alternative rock has been one I've enjoyed for a long time, particularly the track 'Waving Flags' from their Do You Like Rock Music? EP - and their sound places them somewhere between Elbow, Doves and Arcade Fire; three bands I'm rather fond of indeed.

'Who's In Control?' starts off VD (unfortunate initials) with vocal delivery rather reminiscent of Biffy Clyro's Simon Neil - backed up with a solid rock song, all drum-fed choruses and background chants that seems to be their secret weapon. Such drums are the focal point in 'We Are Sound', which slows down around the 3rd minute mark for a pleasant little detour into a softer approach.



In 'Georgie Ray' there's whispered balladry coupled with ambitious guitar solos as a moving epitaph (to George Orwell and Ray Bradbury, apparently). Whilst in 'Stunde Null' the guitars are more frantic still, proving as something of a surprise following the safe beginning. The lyrics are a little bizarre, their german nature reminding me of Kettcar, basically Germany's answer to Snow Patrol. Animal qualities are explored in equally puzzling nature in 'Mongk II' which sings

And don't place yourself before the bushman
A fungal farm
And don't raise yourself up above the Inuit or Gorilla

Hmm. 'Luna' provides one of the prettiest tracks and indeed some of the prettiest lyrics - "Even the galaxies weep for the suns and the stars they'll never be" - whilst 'Baby' continues with their twinkling xylophones and perhaps the strangest lyrics to a song called 'Baby' the world's yet seen:

I powdered rhino horns for you
And I'll serve it on a plate to you
I still want you coming round here today
Beautifully to my squirrel cage

Then follows the album's first single, 'Living Is So Easy'. A strange choice admittedly given some of the other tracks' uniquity, but it possesses all the right soft touches to pitch it at some of the non-fans' ears. However, 'Observe the Skies' which follows is infinitely better, possessing more hooks than a fisher's boat, and as majestic sounding as the album's name.



In the final stage of the album there are a couple of stale tracks that go on for much longer than is really necessary - 'Cleaning Out the Rooms' and 'Once More Now'. Admittedly the former has the potential to be a grower, but never really goes anywhere. 'Thin Black Sail' injects a welcome burst of energy with Arctic Monkey-lifted guitars but is too short to really make an impact.

At 11:13 'Once More Now' really needs something special to pull it off and it only disappoints. All Sigur Ros-style minimalism to begin with, it does possess some beauty - the final 4 minutes are cute, but drawn out too much. The first 7 build slowly and again it really could be pulled off in half the time, it just appears bloated as it is. We conclude with 'Heavy Water', which somehow sounds more bloated than the predecessor.

It's really a shame ending on what's otherwise an exciting album. The first 2/3 of it are energetic, unusual and signs that BSP still have creativity in them, which is more than most bubbling alternative acts manage with a Judas kiss from hype.

Rating: 7/10
Highlights: Observe the Skies, Luna, Georgie Ray, Who's In Control
Avoid: Heavy Water, Stunde Null